Parabola, 2013, hd single channel video, color, sound, 26:24 minutes
(for 2013 University of Chicago's Department of Visual Arts 2013 MFA Thesis Exhibition)

I have certain habitual ways with working with film and video that have developed over the years. I tend to shoot long steady wide shots due to my work in creating live visual projections where I needed images that could be easily manipulated in real time. I’ve also had the tendency to avoid the use of computer-generated affects, so I look for these affects that occur naturally within the world: such as superimpositions and shifts of movement. Lastly, I tend to carry over emotions that are evoked during the locations I film to the editing process. These tendencies, their positive and negative affects, are used in Parabola.

Cutting between expansive high definition images and abstracted close-ups, Parabola follows the ascent and decent of the natural terrain and tourist infrastructures within three places in the Canton of Ticino, Switzerland. Within these places I felt a sense of emptiness as I moved through the controlled natural environments, a feeling of being within nature yet completely removed from it, as if there was no room for myself within the curated landscape. While on these excursions I filmed mountains of the region through long shots of a massive cultural center construction site, where cranes in the foreground moved against the landscape. I also captured footage traveling up mountains with Funiculars to tourist destinations. During the editing process I began juxtaposing all three areas. It was through a dissatisfaction and disappointment of my habitual ways of filming where I began to push the materiality of the image. In manipulating the high definition footage by blowing up and cropping the image in the computer, the time and space within each shot was extended, giving me the possibility to look closer, scanning and abstracting the physical material of the image.

It was during this process of discovery that I was able to use the natural affects between surface and form occurring in the world, like superimposition and reflection, to reveal a sense of displacement that occurs as natural and built environments meet. Whether it is the water from a reservoir shifting from obscurity to clarity; to the image of a man talking on a phone within a glass balcony that contains a superimposed image of a landscape with advertisements; or the pan of a steel bar containing shades of light. I wanted to be able to draw attention to the sense of visual displacement that is happening within materials if we look closely. These affects are then solidified through the push and pull of the distance and closeness of the original image and its blown up version.

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